The Scarlet Letter
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Hawthorne's Use of Mirror Symbolism in His Writings
The Woman's College of The University of North Carolina LIBRARY CQ COLLEGE COLLECTION Gift of Jane './nicker lie lie tt KSLLSTT, JANS WHICKER. Hawthorne's Use of Mirror Symbolism in His Writings. (1968) Directed by Dr. Robert 0. Steohens. pp. 60 Ihroughout the course of Nathaniel Hawthorne's writin* one notes an extensive use of mirrors and other reflecting objects—brooks, lakes, fountains, pools, suits of armor, soao bubbles, the Duoils of oeople's eyes, and others. Surprisingly enough, few scholars and critics have had much to say about this slgnigiCRnt mirror symbolism; perhaps Hawthorne succeeded so well In concealing; these images that they exoress meaning without directing attention to their Dresence. Nevertheless, they are very much in evidence and for a very definite purpose. Hawthorne, whose works cover the problem of moral growth in man, was attempting to show mankind that only through an intense self-lntrosoectlon and self-examination of the interior of his Innermost bein°:—his heart—would he be able to live in an external world which often apoeared unintelligible to him; and through the utiliza- tion of mirror images., Hawthorne could often reveal truths hidden from the outer eyes of man. Hawthorne's Interest in mirrors is manifest from his earliest attempts in writing; indeed, he spoke of his imaerination as a mirror—it could reflect the fantasies from his haunted mind or the creations from his own heart. More Importantly, the mirror came to be for Hawthorne a kind of "magic" looking glass in which he could deoict settings, portray character, emphasize iraoortant moments, lend an air of the mysterious and the suoernatural, and disclose the meaning beneath the surface. -
Nathaniel Hawthorne's “Young Goodman Brown”: a Psychoanalytic
Nathaniel Hawthorne’s “Young Goodman Brown”: A Psychoanalytic Reading Nathaniel Hawthorne’s story “Young Goodman Brown” describes the maturation of its protagonist, Goodman Brown. Through a dream vision, Brown confronts his forefathers, his wife, and authoritative members of his town, and by the end of the story he has established his place in the community as an adult. The events of the dream vision are Brown’s “errand” to a witches’ Sabbath in “the heart of the dark wilderness” and his refusal to take communion from the devil. The psychological significance of the dream vision is less obvious: Through his journey, Brown becomes an adult in his community; though uninitiated at the Sabbath, he is fully initiated socially. This initiation results in a frozen emotional state as the “young” Goodman Brown becomes, overnight, an old and gloomy Goodman Brown, without hope through the end of his days. Ultimately “Young Goodman Brown” can be seen as Hawthorne reaching his own critical understanding of his Puritan ancestors. The conflict that Brown suffers during his journey in the woods is shown to be internal through the number of details that are projections of his unconscious. The devil’s arguments “seemed rather to spring from up in the bosom of his auditor”—that is, Brown himself. When “the echoes of the forest mocked him,” Brown is projecting his emotional state onto the forest. The further Brown sinks into despair, the clearer it becomes that what he sees and hears is to a large extent the product of his fancy. “Once [Brown] fancied that he could distinguish the accents of townspeople of his own,” but “the next moment, so indistinct were the sounds, he doubted whether he had heard aught” until “then came a stronger swell of those familiar tones.” Ultimately Brown himself is the “chief horror of the scene” created by his own mind in conflict. -
The Scarlet Letter
THE SCARLET LETTER Nathaniel Hawthorne WHO WAS NATHANIEL HAWTHORNE? 1804-1864 Born in Salem, Massachusetts only child father died in 1804, while at sea he and his mother moved in with wealthy uncles leg injury kept Nathaniel down for several months, during this time he read as much as possible and decided to become a writer 1821-1825 – attended Bowdoin College met Henry Wadsworth Longfellow Franklin Pierce (14th President) not a great student WHO WAS NATHANIEL HAWTHORNE? Early ancestor, William Hathorne, first came to America in 1630, settled in Salem, Massachusetts, was a judge known for harsh judgements William’s son John, Hathorne was one of the three judges during the Salem Witch Trials in the 1690s Nathaniel added a “w” to his last name to distance himself from that side of the family WHO WAS NATHANIEL HAWTHORNE? Met Sophia Peabody a painter illustrator transcendentalist Spent time at Brook Farm community met Ralph Waldo Emerson and Henry David Thoreau Married Sophia on July 9, 1842 Settled in Concord, Massachusetts 3 Children SETTING Books are like boats on a river… We must look at two parts of the river when learning about the setting of the book. Where the author lives or lived on the river. Where the book takes place along the river. SETTING Transcendentalism was a philosophical movement that was developing by the late 1820s and '30s in the Eastern region of the United States as a protest against the general state of intellectualism and spirituality. The doctrine of the Unitarian church as taught at Harvard Divinity School was of particular concern. -
The Scarlet Letter Summer Reading Questions
THE SCARLET LETTER SUMMER READING QUESTIONS Complete the following questions in order as you read. Questions should not be rewritten. Answers do not have to be in complete sentences. Answers will be due on the first day of class. The purpose of these questions is to help keep you focused on your reading and to prepare you for the test over this text. Answers will be graded. The Scarlet Letter “The Custom-House” This introductory section describes the conditions that led the narrator to write The Scarlet Letter. The narrator, a young man, works in the Boston custom-house, a building that housed government officials in charge of documenting the import and export of goods into and out of the country and taxing those goods. The narrator’s co-workers are mostly old men with whom he has very little in common. One day, the narrator finds a red letter “A” and a manuscript by Jonathan Pue, a former employee of the custom- house, in a stack of old papers. The manuscript is the history of Hester Prynne, and the narrator believes that Pue’s ghost is speaking to him through the ages, exhorting him to write Hester’s story. While working at the custom-house, the narrator finds it difficult to write. However, after losing his job when a new president is elected, the narrator is able to settle down and write his tale. Chapters 1 & 2: “The Prison-Door” and “The Market-Place” 1. What are two of the first things that are built in a new colony? 2. -
F, Sr.Auifuvi
NATHANIEL HAWTHORNE' S USE OF WITCH AND DEVIL LORE APPROVED: Major Professor Consulting Professor Iinor Professor f, sr. auifUvi Chairman of" the Department of English Dean of the Graduate School Robb, Kathleen A., Nathaniel Hawthorne;s Fictional Use of Witch and Devil Lore. Master of Arts (English), December, - v 1970, 119 pp., bibliography, 19 titles. Nathaniel Hawthorne's personal family history, his boy- hood in the Salem area of New England, and his reading of works about New England's Puritan era influenced his choice of witch and Devil lore as fictional material. The witch- ci"aft trials in Salem were evidence (in Hawthorne's inter- pretation) of the errors of judgment and popular belief which are ever-present in the human race. He considered the witch and Devil doctrine of the seventeenth century to be indicative of the superstition, fear, and hatred which governs the lives of men even in later centuries. From the excesses of the witch-hunt period of New England history Hawthorne felt moral lessons could be derived. The historical background of witch and Devil lore, while helpful in illustrating moral lessons, is used by Hawthorne to accomplish other purposes. The paraphernalia of witchcraft with its emphasis on terrible and awesome ceremonies or practices such as Black Sabbaths, Devil compacts, image-magic, spells and curses, the Black Man in'the forest, spectral shapes, and familiar spirits is used by Hawthorne to add atmospheric qualities to his fiction. Use of the diabolic creates the effects of horror, suspense, and mystery. Furthermore, such 2 elements of witch and Devil doctrine (when introduced in The Scarlet Letter, short stories, and historical sketches) also provide an aura of historical authenticity, thus adding a v dimension of reality and concreteness to the author's fiction. -
Hawthorne's Conception of History: a Study of the Author's Response to Alienation from God and Man
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man. Lloyd Moore Daigrepont Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Daigrepont, Lloyd Moore, "Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man." (1979). LSU Historical Dissertations and Theses. 3389. https://digitalcommons.lsu.edu/gradschool_disstheses/3389 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. -
The Authorial Voice of Hawthorne's Twice-Told Tales
Omission, Redundancy, and Fluctuation: The Authorial Voice of Hawthorne’s Twice-Told Tales Atsushi Sugimura Nathaniel Hawthorne’s “retold” stories compiled into Twice-Told Tales (1837/1842) are based largely on historical facts and previously published sources. Such a narrative environment not only provides the illusion of verisimilitude for the tales but also functions, as Michael Dunne points out, as a “paradoxically liberating source of creativity,” licensing the narrator to enjoy the “editorial freedom” of interposing values and judgments (29). Despite its wide variety of persons, tenses, and degrees of commitment, what is consistent in Twice-Told Tales is the author’s taking advantage of the opportunities presented by the exercise of such authority. He, at times, can be caught talking to the reader through the voices of his narrators in this collection in which the quintessential Hawthornian themes are already almost in full view: secret sin, ancestral guilt, retribution, dark nuptials, morbid solitude, religious extremity, and so forth. In his preface to the 1851 edition of Twice-Told Tales, Hawthorne relates that he had long been “the obscurest man of letters in America” who failed to make “the slightest impression on the Public” (xxi), and calls his stories “the productions of a person in retirement” (xxiii). This essay is an attempt to examine the unique dynamics of Hawthorne’s narrative involvement in Twice- Told Tales. I first see the manner in which the author resolves the sharp conflicts between two irreconcilable communities in several tales, and then proceed to the exploration of the intense correlation between narrator, character, and author in “The Minister’s Black Veil: A Parable” and “Wakefield.” Through these analyses, I would like to define Hawthorne’s deft but wavering manipulation of narrative voice by paying careful attention to what Herman Melville called a “great power of blackness” (“Hawthorne and His Mosses” 521), and also to the author’s “meticulous concern with ironies of motivation” (Crews 705). -
Chelliah.Pdf
Merit Research Journal of Agricultural Science and Soil Sciences (ISSN: 2350 -2274) Vol. 5(11) pp. 116 -121, November, 2017 Available online http://meritresearchjournals.org/asss/index.htm Copyright © 2017 Merit Research Journals Review The Fictional Forte and L iterary Achievement of Nathaniel Hawthorne with a Focus on Spiritual Development through Sin and Suffering as Pictured in His Marble Faun: A Brief Analysis Dr. S. Chelliah, M. A., Ph.D Abstract Professor, Head and Chairperson, This paper is an attempt to examine the fictional art and forte of Natheniel School of English and Foreign Hawthorne with a special focus on his literary achievement and also languages and School of Indian spiritu al development attained through experience of sin, guilt and Languages, Department of English sufferings, by projecting him not only as an American novelist and short – and Comparative Literature, Madurai story writer but also a new England Puritan disapproving severe and harsh Kamaraj University MADURAI-21(TN)- India codes of the Puritan morality and a psychologi st delving deep into the study of human nature. It studies and reveals how Hawthorne used fiction as a E-mail: [email protected] me dium for pursuing poetic truth; that is the truth of human heart and used Mob: 9442621106/ 7339129324 his novel especially as a tale of human frailty and sorrow by pouring all the passion of his sensitive and lonely heart into his fictional composition. It finally attests to the fact that the outraged suffering humanity must learn to live with the blackness that lies everywhere beneath us. Key words: Fictional forte, curious coinci dence, spiritual development, sin, guilt, human suffering, Puritan morality, poetic truth, sensitive heart. -
Teaching American Literature: a Journal of Theory and Practice Fall 2017 (9:2)
Teaching American Literature: A Journal of Theory and Practice Fall 2017 (9:2) Ascending the Scaffold: Knowing and Judging in Hawthorne's The Scarlet Letter David Rampton, University of Ottawa, Canada Abstract: Reminding students that Hawthorne's The Scarlet Letter begins with an exercise in public shaming helps them relate to the novel. It is set in the mid-17th century, a long time ago, yet the continuities persist. Hester Prynne is forced to mount the scaffold and expose herself and her child to the citizens of Boston, who want to see her degraded and to learn the name of her partner in moral crime. Today convicted criminals in the American justice system are routinely required to make a similar sort of public display. The desire to know how the battle between good and evil is going in Puritan Boston, Hawthorne says, is something that binds the community together and threatens to tear it apart. Knowing can mean sympathy and compassion, but it can also involve a pernicious desire to trespass in the interior of another's heart. Our exercises in close reading reveal that the desire to "know" someone, as the novel's slow motion "whodunit" clearly shows, can lead to deeper intimacy, or a denial of their quintessential humanity. Analyzing the shaming scenes that organize the narrative means helping students to see more clearly the structure of the novel, the issues at stake in it, and the ambiguities of guilt and innocence that dominate in our meditations on our own lives. Teaching The Scarlet Letter is one of the great experiences in the career of any teacher, for reasons that are not far to seek: it is arguably the most widely read 19th-century American novel; its subject, adultery, still has a magnetic attractiveness for us; and the story it narrates is firmly inscribed in the history of America and its culture. -
Romantic Ameran Literature: Sources for Criticism. a Research Guide
DOCUMENT RESUME ED 329 984 CS 212 734 AUTHOR Van Noate, Judith, Comp. TITLE Romantic Ameran Literature: Sources for Criticism. A Research Guide. INSTITUTION North Carolina Univ., Charlotte. J. Murrey Atkins Library. PUB DATE 90 NOTE 23p.; For other guides in this series, see CS 212 732-739. Small print on some pages may affect legibility. PUB TYPE Guides - Non-Classroom Use (055)-- Reference Materials - Bibliographies (131) -- Reference Materials - Directories/Catalogs (132) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Authors; English Literature; Higher Education; Library Guides; *Library Materials; Library Skills; *Literary Criticism; *Nineteenth Century Literature; *Reference Materials; *Romanticism; *United States Literature IDENTIFIERS University of North Carolina Charlotte ABSTRACT This handcut is a guide to library resources in the J. Murrey Atkins Library at the University ofNorth Carolina-Charlotte for the criticism of Romantic (19th century) American literature. The guide explains important referencesources in the Atkins library reference collection and howto find biographical and critical information in books andperiodicals. The guide's sections cover three sources of criticism: (1)general reference works (biographical and critical information);(2) books on individual authors and their work; and (3) indexesto criticism in periodicals. (SR) *********************************************************************** Reproductions supplied by EDRS are the bestthat can be made from the original document. ***************************************************%***A*************** -
The Scarlet Letter: Embroidering Transcendentalism and Anti-Transcendentalism Thread for an Early American World
ISSN 1798-4769 Journal of Language Teaching and Research, Vol. 9, No. 3, pp. 474-479, May 2018 DOI: http://dx.doi.org/10.17507/jltr.0903.04 The Scarlet Letter: Embroidering Transcendentalism and Anti-transcendentalism Thread for an Early American World Ramtin Noor-Tehrani (Noor) Mahini Acalanes High School, Lafayette, California, USA Erin Barth Acalanes High School, Lafayette, California, USA Abstract—Published in 1850 by Nathaniel Hawthorne, the dark romantic story of The Scarlet Letter was immediately met with success, and Hawthorne was recognized as the first fictional writer to truly represent American perspective and experience. At the time when most novelists focused on portraying the outside world, Hawthorne dwelled deeply in the innermost, hidden emotional and mental psyches of his characters. Despite being acquainted to both famed transcendentalists Ralph Waldo Emerson and Henry David Thoreau and married to the transcendentalist painter Sophia Peabody, Hawthorne was often referred to as anti- transcendentalist or dark romantic writer in The Scarlet Letter. Is he also influenced by the transcendentalist movement in his famed novel? Evidence shows that he is more transcendentalist than anti-transcendentalist in The Scarlet Letter. Index Terms—Nathaniel Hawthorne, Scarlet Letter, Hester Prynne, Roger Chillingworth, Arthur Dimmesdale, Pearl, transcendentalism, dark romanticism, anti-transcendentalism I. INTRODUCTION Riding the wave of heightened nationalism after the second independence war against Great Britain in 1812, Americans began to write their own school textbooks, celebrate the birth of American literature using American scenes and themes, and even establish their own American intellectual, philosophical, and social movements. One of these movements is the American transcendentalism that began in the mid-nineteenth century (1830-1860) in Boston and Concord of New England. -
'Troubled Joy' : the Paradox of the Female Figure in Nathaniel Hawthorne's Fiction
'TROUBLED JOY' : THE PARADOX OF THE FEMALE FIGURE IN NATHANIEL HAWTHORNE'S FICTION by Sciretk ROSEMARY GABY B.A. Hons. Submitted in fulfilment of the requirements for the degree of Master of Arts UNIVERSITY OF TASMANIA NOVEMBER 1984 TABLE OF CONTENTS Page Prefatory Note i Abstract .. ii Introduction .. 1 Background: The Figure of Woman in Nineteenth Century America 5 II Woman's Fatal Flaw: The Tales 25 III Hester Prynne 57 IV Zenobia and Priscilla 77 V Miriam and Hilda .. 96 Conclusion • • 115 Bibliography . 121 PREFATORY NOTE This thesis contains no material which has been accepted for the award of any other higher degree or graduate diploma in any university. To the best of my knowledge and belief the thesis contains no material previously published or written by another person, except when due reference is made in the text of the thesis. (k9)9Acs-\ The style of presentation is primarily in accordance with the MLA Handbook (New York: Modern Language Association, 1977), but some features of style, notably the use of single quotation marks for quotations of words, phrases or short prose passages, have been determined by the Style Sheet of the Depart- ment of English, University of Tasmania. ABSTRACT The figure of woman is of central importance to the whole pre- sentation of meaning in Nathaniel Hawthorne's fiction. In comparison to other writers of the nineteenth century, and especially his male compatriots, Hawthorne grants the female figure a remarkable degree of prominence and significance in his works. His presentation of woman is noteworthy not only for the depth and subtlety with which his female characters are portrayed but also for the unique way in which he mani- pulates the standard female stereotypes to explore through symbolic suggestion the whole purpose of woman's existence and the foundations of her relations with man.